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PL7\Y3 



THE AMERICANA 



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THF A M A 7nNS Farce in Three Acts. Seven males, five fe- 
inC /\lflrti«V/lliJ males. Costumes, modern; scenery, not 
difficult. Plays a full evening. 

THE CABINET MINISTER ^X, Zl^'YeJ^l S 

tumes, modern society; scenery, three interiors. Plays a full evening- 

riANnV niflf Farce in Three Acts. Seven males, four fe- 
Un.nU I L/iV^IV. males. Costumes, modern; scenery, two inte- 
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THE" r* AV I ARn niTPY Comedy in Four Acts. Fourmales, 
irlEiUAl LiV7I\U ViwEiA ten females. Costumes, modern; 
scenery, two interiors and an exterior. Plays a full evening. 

UIC UniTCC IM nPni7D comedy in Four Acts. Nine males, 
niO nUUOEi 11^ UI\UEiI\ four females. Costumes, modern; 
scenery, three interiors. Plays a full evening. 

TUr UHRRV UnDQF Comedy in Three Acts. Ten males, 
iriE. n\JDDl nUIVOlJ Ave females. Costumes, modern; 
scenery easy. Plays two hours and a half. 

inic Drama in Five Acts. Seven males, seven females. Costumes, 
i***^ modern ; scenery, three interiors. Plays a full evening. 

1 AHY RflTTNTIFITI Play in Four Acts. Eight males, seven 
lu^U I DvrUli 1 irULi females. Costumes, modern; scen- 
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I FTTY I^rama in Four Acts and an Epilogue. Ten males, five 
I*tl 1 I females. Costumes, modern; scenery complicated. 
Plays a full evening. 

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ftSSSm 



The Americana 



A Spanish-American Comedy Drama 
in Three Acts 

For Female Characters Only 



By 
ANITA BRADFORD 



BOSTON 

vV ALTER H. BAKER & CO. 
1917 






The Americana 



CHARACTERS 

Dolores Esteban, '•Lolita." 
Dona Ysabel, her aunt. 
JUANA, a faiikfui servant. 
Tonia, y liana' s old friend. 
Chichi, a half-breed Indian girl. 

CAKMEN ) r ■ J ^7-17 

Elvira [ /^^"^""^^ of Dolores. 

Edith Merrick, a young A}nerican woman. 

Mrs. Lester, an American tourist. 

Pauline ) , , ,, 

Winifred } ^^^r daughters. 

Amalia, Inez, Mercedes, Maria, Luisa, Clara, girls of the villagi 




Copyright, 1917, by Anita Bradford 
As author and proprietor 

Professional and movittg picture rights reserved ^ 

©CI.D 46173 '"^ 

FEB 19 1917 TMP92-008687 



COSTUMES AND CHARACTERISTICS 

Dolores. A pretty young girl of Spanish type, but not neces- 
sarily dark skinned. She is graceful and dignified in movement 
and can change to a .proud and haughty attitude in a twinkling, 
but her general impression is of sweet and modest young girlhood. 
Act I. Her dress is dark red or green, with lace collar and 
cuffs and fancy sash. Some jewelry, old-fashioned preferred. 
Her hair is parted and falls in curls tied with a ribbon. She wears 
white stockings and black slippers. Act II. Colored skirt, white 
or light colored waist, ribbon at waist (they must appear to be old 
clothes). Act III. The fiesta costume consists of black velvet 
skirt (or satin), white lace waist, Spanish shawl of bright color 
draped over one shoulder and the other hip; silk stockings to 
match or correspond with shawl ; dancing slippers. Wears much 
old-fashioned jewelry, earrings ; carries fan. Red roses in hair. 

Edith. A typical young American woman of wealth, her own 
mistress. She must contrast sharply with Dolores, that is, be 
taller, fair complexion, decided in talk and manner, in fact a trifle 
slangy and abrupt, but for all that a splendid young person, im- 
patient of control, but loyal to her convictions and generous and 
kind of heart. Act I. Her costume is a riding habit (preferably 
knickers and tail coat, if it can be obtained), stiff hat, gauntlets, 
whip, etc. ; if necessary, a short divided skirt of khaki, Norfolk 
jacket and high boots may serve. Act II. White linen gown, 
plain hat, large or small, simple but chic. Act III. A pretty 
afternoon dress and flower trimmed hat. (Should there be time, 
she need not change to this until after burying the treasure, but it 
is not imperative. ) 

Dona. A gentle old lady, with silver hair, but of great dignity, 
kind and courteous to every one and devoted to Lolita, but witii the 
formality of the past generation. One costume only is required : 
Black silk dress with narrow white ruffles or collar at neck and 
hands, black lace mantilla except in Act II, when a small black 
silk cap IS worn. 

Mrs. L. a middle-aged woman, abrupt in manner and not very 
well-bred. Her traveling costume may consist of light silk suit of 
dark color, or silk dress covered by thin black silk coat, dark hat. 

Winifred. Rather pretty, dressed in dark silk or linen suit, 
small tailored or Panama hat. 

Pauline. Plain, abrupt, and inclined to be sarcastic. Cos- 
tume rather fancy for traveling, or in extreme style, as light frock, 
loud colored coat, fancy hat. 

Carmen. A quiet, pleasant little girl, devoted to Lolita. 
Rather shy, particularly when Edith comes in. Act II. She 



4 COSTUMES AND CHARACTERISTICS 

wears light pink or blue dress, of cotton material, lace trimmed 
and with ribbon sash and bright scarf on head, which she removes. 
Act III. Fiesta costume similar to Lolita's. 

Elvira. Proud and selfish, rather envious of Lohta. She may be 
rather pretty, but overdressed and trimmed, with much jewelry and 
ornaments. Act II. Bright yellow dress, trimmed with black lace 
and ribbons, bright red scarf. Act III. Fiesta costume, but very 
elaborate and overtrimmed. The hair of both Carmen and 
Elvira in Act II should be done up in curl papers and covered 
with broad ribbons with a large bow over each ear. Elvira's 
should be much larger than Carmen's. In Act III they may wear 
it hanging if desired. 

Amalia, etc. Fiesta costumes of bright colors, hair plaited or 
in curls or arranged in Spanish fashion of large knot over each 
ear with two large bows. Care must be taken not to dress like 
gypsies. 

JUANA. A big woman, stout if desired, dressed in dark calico 
or print dress, colored kerchief around neck and one over head. 
May be made up darker than Lolita or Dona. 

Chichi. Rapid of movement at times, but awkward and out of 
place in the house. Must be made up quite dark, wearing fiesh 
colored stockings to match color of hands and face, flat, shabby 
shoes, or better, none at all. Hair copied from Mexican Indian 
pictures, dark calico dress, kerchief at neck. 

ToNiA. A bent old woman, dark and dismal. Gray hair, 
patched and faded dress, kerchief at neck and on head. May 
walk with a cane. Carries basket. 



The Americana 



ACT I 

Time, early evening. 



SCENE. — The Saia (^parlor) of the Esteban home, in a small 
village of any Spanish- American country. Door c, back to 
balcony and street. Door l., to dining-room and kitchen. 
Door H. I E., to Dona Ysabei/s apartments. Door \x. 2 e., 
to Edith's apartment. At l. of door c, a cabinet with a 
mirror over it. At c., a large table. R. , betiveen doors, a 
small table. Up C, back of centre table, a sofa. Four 
rocking-chairs are disposed around the centre table in a stiff 
square. Three straight chairs, one at R. of door c. ; a/i- 
other above and a third below the door L., against the tvall 
in each case. Another small chair belo7zi door r. The 
furniture should be oldfasJiioned, of black 7Viilnut or some 
similar 7vood, cane-seated if possible, and arranged stiffly. 
A painting of the Madonna, some few good pictures, re- 
ligious in character if desired, scarves of lace and embroidery 
on tables or chairs, a vase, book, or some ornament on side 
table and on cabinet, etc., etc., may be arranged, but the 
general effect must be formal and give an impressioti of 
present poverty after past wealth. A clock of some sort 
must be placed or hung. If such scenery is obtainable, the 
room should have plaster lualls, tinted white or color, and 
there should be no doors in the doorways to bedrooms or 
dining-room. The street or balcony door should be of wood, 
or blinds, 7vithout glass, and open ifito the room. Double 
doors tvould be preferable, painted 7vhite, 7vith lock and 
bolts. To carry out the Spanish effect, it is necessary that 
the room present a stiff, formal appearance and the group 
of chairs around the table is very characteristic. 

5 



b THE AMERICANA 

Etiter JuANA zvith catuile or taper ; she lights lamps, surveys 
room, noting magazines thrown about, chairs disarranged, 
etc. 

JUANA (^shaking Jiead in disapproval). Such disorder ! 
Would you look at the room — the state it is in with that 
Americana in the house. {Goes to d. l., calls loudly.') 
Chichi ! Chichi ! 

Chichi {hurrying in). Yes, Juana, yes. Here I am. 
What do you want ? 

{Stumbles over a chair, hurting her foot ; sits oti floor and 
nurses it.^ 

Juana {scolding). Muchacha ! Get up from the floor. I 
want you to clean up this room. See the litter ! What will 
Dona Ysabel say if she conies ? Put it to rights at once, lazy 
one ! 

Chi. {7uho does not hurry at the ivork). It was the Amer- 
icana who did it, so the Dona can say nothing. 

Juana. To the Americana, but to me, to you, yes, many 
things. 

Chi. {taking nun^azines and going torvard door, R. 2 E.). 
Oh ! but it must be nice to be an Americana. \_Exit. 

Juana. Yes, nice, — but not for other people. The work 
there has been since this foreigner came into the house ! But 
1 suppose the money she pays is very welcome. Ave Maria, 
to think that an Esteban sliould have to take money for lodg- 
ing, and from an American ! (Tunia enters D. L.) Ah, 
Tonia, old friend, how are you ? 

Tonia. Not very well, Juana, not very well. {SJiakes 
head.) I'm getting old, you know. 

Juana. Nonsense, Tonia, you are not much older than I, 
and look at me. 

Tonia. Ah, but you, Juana, have not led the hard life that 
has been mine. You have been here, with the Estebans, since 
you were a girl. All these years ! 

Juana. And such hapi)y years! But things are changed 
now. What a family they were then, Tonia, do you remem- 
ber? And now [Sighs.) 

Tonia. Yes, yes, there was no one like the Estebans then. 
But now — I have heard there is a lodger, an American here. 
Is it true? {Doubtfully.') 

Juana. Alas, yes. You have seen her? 



THE AMERICANA 7 

ToNiA (^shaking her head dismally). I have seen her. 

JUANA. Such a woman ! She wears the dress of a man by 
day, and at night — Ave Maria, still worse ! 'I'hey have no 
modesty at all, these Americans ! 

ToNiA. So 1 have always heard. 

Chi. (ji'ho lias returned Jrom R. i E. and overheard 
Juana's last tuords). But men do not care for that ! 

JuANA {ciifgrily). Wicked one! What are you saying? 
Wliat do you know about such things? Some men, perhaps, 
but not the right sort. Not those like Don 

Chi. {interrupting with a laugli). Don Francisco Cal- 
deron 1 Ha, ha, oh, no, he does not like it. 

{Site capers around clumsily .) 

JUANA. How dare you name Don Francisco, the suitor 
of 



Chi. 'I'he Americana ! Ho, ho 1 

{She tries to dodge Juana, 7iiho catches her.) 

JUANA {shaking Jier). Impertinent one ! Every one knows 
that Don Francisco Calderon is the suitor of the Senorita 
Dolores, our Lolila ! 

Chi. {escaping and rubbing her shoulder ruefully). Well, 
you can ask Tonia, there ; slie knows. 

Juana {turning to Tonia). What is this ? What do you 
know ? 

Tonia {croakingly). The Americana and Don Francisco 
are much together. I 

Juana {interrupting). Nonsense ; how do you know ? 

Tonia. This morning I saw the Americana riding by widi 
Don Francisco. Yesterday I met them walking toward the 
river, the day before 

Juana. You expect me to believe thai? 

Tonia {indignantly). So you do not believe what I say? 
I, your old friend, I am a liar ? 

{Starts to7iiard street door. ) 

Juana {following and trying to soothe her). Tonia, my 
friend, I do not mean to offend you. It seems too much to 
believe, that is all. 

Tonia. But it is true, Juana, and you will find 

Juana {interrupting, fiercely). It is the Americana that is 



5 THE AMERICANA 

to blame for this. But you may be mistaken, Tonia — you are 
old 

Tonia. Old? {Straightens up.) I am a little older than 
you, Juana, and I am not a fool. Did I not see them with my 
own eyes? If you do not believe me, ask any one of the vil- 
lage ; they can tell you. 

Chi. [who has been inte fitly listening). Yes, they can tell 
you. 

Juana {beiuildered). But Don Francisco — he and Lolita 
are as good as betrothed. Every one expects it. 

Tonia. It is the unexpected that happens. And with the 
Americana 

Enter Dona Ysa^ki. from door, r. i e. 

Juana {loudly). That is it, that Americana — I wish 

Dona. Juana ! Is it possible that you are gossiping about 
our guest ? 

(Chi. laughs a/ Juana.) 

Juana {surprised but not embarrassed). But Tonia has 
said 

Dona {severely). Tonia is old enough to know better than 
to repeat the village gossip. Will you ever learn that Amer- 
ican customs differ from ours? 

^Xo'UXA {meekly). Si, senorita. {To ]\J Ai>ix, 7vith ejnphasis.) 
Thank heaven ! 

Juana {nodding agreement. They 7valli to D. c). Good- 
bye, Tonia. I shall see you to-morrow, {Exit Tonia. To 
Chi., who has been standing idly tvatching.) Chichi, laziness ! 
Get to your work. \_Exit Chi., laughing. 

Dona {kindly but reprovingly). Juana, I have noticed be- 
fore this that you do not understand the customs of Miss Mer- 
rick, but I insist that you be polite to her and conceal your 
feelings. American senoritas have more liberty than ours. 

Juana. I should say they do. Our girls are too sensible 
to spend their time in idleness, scribbling words on paper, 
reading romances, or walking through the streets with a man, 
or riding on a horse like 

Dona. Juana, this is foolish talk. Be silent. 

Juana. Ah, Dona Ysabel, would you like our senorita, the 
dear Lolita, to be as this Americana? Do you want her to 
dress like a man, to laugh and walk like a man, to appear in 
public alone with a man? 



THE AMERICANA 9 

Dona (Jiorrified^. My Dolores? No! For tlie Americans 
it is all very well, but for our girls, oh, no. 

JUANA. They may yet come to it. Already I see Lolila 
watching this Americana with admiring eyes. Soon we may see 
her 

Dona. Juana, you are a goose. Dolores would never do 
that. She is a sweet, modest girl. And even now she has a 
suitor, Don Francisco 

Juana {emphatically). Don Francisco is riding with Miss 
Merrick, or walking with Miss Merrick, or talking with Miss 
Merrick, to-day, yesterday, every day. Tonia 

Dona. So this is the gossip Tonia brings you. And you 
believe it? 

Juana. It is true. Chichi has seen them, too. All the 
village has seen them — seen her looking at him with those bold 
blue eyes 

Dona. It cannot be true. Don Francisco spends his time 
with Miss Merrick ? I cannot believe it, Juana ; you are 
mistaken. 

Juana. Mistaken? Not I. You can ask any one. All 
the village is talking of it. Poor Lolita, she has no chance 
with this foreigner. She must sit at home and see her lover 
taken away from her. 

Dona {proudly). The village dares to gossip of our Lolita? 
Insolence ! Do they forget that she is an Esteban ? 1 will not 
have it. 

Juana. Then you should send this Americana from your 
home. What does she want here ? (LoLrrA enters from 
D. c.) Let her take some man of her own people. She 
ought to be taking care of her home instead of living alone in 
a strange country. 

LoL. {placing letters on table). What is this about Miss 
Merrick wanting a man ? Don't you know she doesn't? She 
loves only her work. 

Juana. Oh, is that so? Then wiiy must she work here? 
And why is she always with men, and so bold 

Lot,. Juana, you must not say that. It is because you are 
so ignorant, you do not understand the ways of Americans. I 
think their customs are much superior to ours. I only wish I 
were an American ! 

Dona. My child ! 

Juana. Ave Maria! Listen to her ! {To Dona.) Did I 
not warn you ? 



10 THE AMERICANA 

Dona. Surely, Lolita, you do not mean what you say? 
You, Dolores EsLeban, to wish yourself an American ? It is 
ridiculous. 

LoL. {amused^. It may be an honor to be an Esteban, but 
it is rather stupid. Just think what good times 1 would have 
if I were like Miss Merrick ! 

JuANA {coming over and speaking angrily). Like Miss Mer- 
rick ? Perhaps you would try to take another's sweetheart 
from her. 

Dona. Juana, that will do. Let the matter rest. 

(^Tries to draiv Lol. atvay, but LoL. returns to Juana.) 

LOL. What do you mean, Juana ? What lying tales have 
you heard about my dear Miss Merrick ? 

Juana. " Your dear Miss Merrick " ! Poor innocent ! It 
is no lie that she is riding to-day wiih Don Francisco Calderon, 
and yesterday they walked to Las Palmas, and the day before 
they drove to Casa Alta. By lo-morrow 

Lol. (/aug/iing but a little anxious). How silly you are, 
Juana. I asked Paco to be nice to Miss Merrick and take her 
places. It is quite proper for American girls to be alone with 
men ; they think nothing of it. Miss Merrick and Paco are 
just good friends. 

Juana. "Good friends"? And is it only friendship that 
Don Francisco feels for this Americana ? He is no American. 
And wiien did you last see your Paco? 

Lol. (^still smiling). Don't you wish you knew ? There's 
Chichi looking for you, Juana. Aren't you afraid of some 
catastrophe in the kitchen ? 

(Chl has come to door and beckoned 7vildly for Juana.) 

Dona {going toward r. i e.). Dolores is right, Juana, let 
us have no more of your silly tales. Go to your work. 

l^Exit. 

Juana {^startifig tozaard d. l., but returning after Dona 
goes). I suppose Don Francisco has invited you to be his 
partner to-morrow ? 

Lol. That is not necessary. Paco knows that I know that 
he wants me, and 

Juana. You call that an invitation ? You, Dolores Este- 
ban ? 

Lol. You will drive me insane, Juana, with your nonsense 
about Esteban. Besides — he did ask me. 



THE AMERICANA tl 

JuANA. But that was before the Americana came. 
LoL. {impatiently^. Will you go? 1 will not listen to you ! 

\_Exit JUANA, muttering. 

(LoL. looks after her, puzzled, a trifle worried ; sighs. 
Edith ]\Ierkick enters from D. c.) 

Edith. My dear Lolita, why so doleful ? I am surprised 
to see you looking blue. {Throivs gloves on table, hat on 
chair ; moves things so as to disarrange the room from its 
prim state.^ Well, honey (^putting arm around LoL.), what 
have you been doing all day ? 

LoL. {returning the embrace). The usual thing, just as I 
do every day. Is it any wonder that I grow tired of the 
routine ? 

Edith. I suppose not, but you are usually so happy. You 
are not like me. You don't have to worry over a career. 
{Turns and sees letters, brightens instantly.) Letters? For 
me? 

LOL. {nodding). I think so. 

Edith. Good. 

{Takes up letters, glances over addresses eagerly, then shoivs 
disappointment, opens them sloivly, and throws them aside 
with a glance. ) 

LoL. Any good news? 

Edith. Nothing at all. {Sits doion dejectedly.) Oh, how 
tired I am ! 

LoL. Did you have a pleasant ride ? 

Edith [trying to hide her disappointment over the letters). 
Yes, indeed. The road is delightfully picturesque. You ought 
to come with me some time and see for yourself. 

LoL. On horseback? {Laughs.) I fear Aunt Ysabel 
would not permit that. And — was — was Sefior Calderon with 
you ? 

Edith. Oh, yes, it wouldn't have been any fun without 
Don Paco. 

LoL. {slowly). Then you do like Iiim? 

Edith. I'm crazy about him. [Looks at Loi,. and laughs.) 
Now I've shocked you. That's American slang, you know. 
But seriously, I do think Don Paco is splendid. I just adore 
Spanish men, anyway. They are so different from Americans. 

LoL. But don't you like the men of your own country ? 



11 THE AMERICANA 

Emm (^pe tula fi fly). No, I don't. They are hateful. They 
want everything their own way and think a girl should give up 
anything for him — them, I mean. 

(Gets up and walks across room.) 

LOL. But a wife must give up everything for her husband. 

Edith (laughing). You poor, benighted child. You are 
behind the times down here. Catch me believing anything 
like that. (/// a speechifying manner.) A woman's life is her 
own. She must give full expression to her talents. What 
right has a man, a mere man, to demand that a woman should 
give up her life's work, just for him ! 

LoL. (shocked but fascinated). But how can a woman have 
a career ? Her work is to keep the home, and take care of her 
husband. 

Edith. Well, I guess not. Let him take care of himself 
and the house, too. 

LoL. (amazed). The husband take care of the house? 

Edith (wickedly). Sure. Why not? Afier all these cen- 
turies it's time men had a tasle of housework. 

LoL. Men — housework ! Ave Maria, what do you say? 

Edith (laughing). My dear, I have shocked you. Never 
mind, you don't have to believe my nonsense. I must not put 
notions into your pretty head. I don't want to spoil your hap- 
piness, too. (Sighs ; goes slowly to door.) Now 1 must 
change for dinner. 

LoL. You have an engagement to-night ? 

Edith. A very important one, — to grind out about a thou- 
sand words on my last story. I wish it were the last. I'd like 
to throw it in the fire. I hate it. 

LoL. You hate your stones, your work ? — That you said 
you loved more than anything else in the world .'' 

Edith. But I don't — that is, I mean Oh, dear, I'm 

talking more nonsense. Don't pay any attention to me, honey. 

( Waves hand and goes out u. 2 E.) 

LoL. (smiling and picking up gauntlets from table). How 
silly Juana is to believe anything wrong of her. She is so 
sweet and kind. I only wish I were like her. American girls 
have everything. (Takes up Edith's hat, puts it on, pulls on 
gloves, inspects herself in mirror and bozas. Chi. enters in 
time to see this.) Oh, deary me, I wish I were an Americana. 



THE AMERICANA I3 

(^Si'g/is, then takes things off sloivly, putting them on table ; 
7valks to front of stage.) 

Chi. (^piits on hat and gloves and is in front of mirror 
copying LOL. ). If only I were an Americana ! 
LoL. (^turning and seeing her). Chichi ! 

(^She cannot help laughing.) 

Chi. {dropping things in confusion, picking them up again). 
Caramba ! 



CURTAIN 



ACT II 

SCENE. — The same. The next morning. The sala is in 
perfect order. Knocking heard at D. c. 

Enter . Cm. from D. L., and runs over to D. c. ; opens it. 

Chi. Good-morning, senoritas, good-morning. Come in. 

Enter Cakmen and Elviua. 

Car. Good-morning, Chichi ; is Lolita at home? 

Chi. Yes, Sefiorita Carmen. She will be glad to see you. 

[She stands smiling at the gir/s.^ 

El. (tvalking in and sitting doivn primly). Go and tell her 
we are here, stu[)id. 

Chi. [aside). Yes, stupid. [Goes to7vard j). i..) 

El. What did you say ? 

Chi. I said she was in the garden, but I will call her. 

El. What a silly creature. I'm glad I'm not half Indian. 

Car. But she is good hearted and devoted to Lolita. I 
can't help feeling sorry for her. 

El. I don't. She is very impertinent. 

Lol. [entering, bringing flowers, and welcofning friends 
warmly). Carmen — and Elvira, I am glad to see you. Sit 
down. [She arranges flowers in vase.) Aren't these flowers 
pretly and fresh this morning? 

El. Wiien Chichi said you were in the garden, I thought 
you were probably digging for the "Treasure." 

Car. Oh, Lolita, if you should find it ! 

Lol. [laughing, sits doivn near girls). The Treasure ? I 
wouldn't waste my time looking for it. I don't believe there is 
any such thing. 

Car. But all the village believes in the Treasure of the 
Estebans ! 

Lol. Well, this Esteban does not. Come, let's talk of 
something else. Just remember the fiesta is to-day. 

El. You should see my dress. It is the prettiest I have 
ever had for any fiesta. Are you going to have a new one? 



THE AMERICANA I5 

LOL. Partly new, that is, all but the shawl. That, you 
know, was my grandmother's. But the rest of my dress is new 
and it is quite pretty, too. 

Car. 1 am sure of it, but Elvira said 

El. {^niu/giiig her'). 1 said that whatever you wore would be 
all right. 

Lot. {/ai/g/iiug). Thank you, Elvira, you are extremely 
flattering. 

El. After all, it does not greatly matter how we look. If 
that Americana comes, she will take all the young men. 

LoL. (/a//g/ii//g). 1 wouldn't be surprised. Oh, girls, don't 
you wish you were Americans? 

Car. 1 ? Oh, my, no ! 

El. (^proudly). Dolores Esteban, you should be ashamed 
to say such a thing. An American — I wouldn't be one for 
anything. 

LoL. Well, I only wish I were. That is if I could be as 
charming as Miss Merrick. 

Car. Is she nice? 

LoL. She is lovely. 

El. I should not think you would say that, Lolita. 

LoL. Why not ? 

El. Because 

Car. {interrupting). Elvira, don't. 

LoL. {looking from one to the other in surprise). What is 
this ? 

El. Well, if any one took my sweetheart, I'd hate them, 
American or not. 

LoL. Oh, I suppose you have heard the same silly tales as 
Juana. 

El. It won't seem so silly this afternoon when you see Don 
Paco with the Americana, instead of you. 

LoL. How do you know he will be with her? 

El. Didn't I hear her ask him ? 

Car. Elvira, do be quiet. 

Lol. Miss Merrick asked Don Paco? What is this? 

El. {spitefully). Yesterday when (hey were at your own 
gate, I heard her say — you know how loudly she talks — " Don't 
forget I want you to take me to the fiesta to-morrow." 

Lol. And Paco said ? 

El. He answered so softly that I could not hear, but I know 
from his manner it was not refusal. 

Car. For shame, Elvira. 



l6 THE AMERICANA 

LoL. I cannot (^Stops, seeing 'EjHIIH enter y r.2 e.) 

Edith. Good-morning, Lolita. {Sees girls, stops.) Good- 
nioining. {To them.) 

LoL. {embarrassed). Good-morning, Miss Merrick. I — 
these are my friends, Carmen and Elvira. 

Edith {ivarmly). How do you do? (S/iakes hands wilJi 
eacli who stands rather awkzvard and confused.) I'm mighty 
glad to meet any friends of Lolita's. 

( They sit down, Edith carelessly displaying a length of silk 
stocking, the two friends very primly, skirts carefully ad- 
justed, looking in a shocked manner at Edith. Lol. a lit- 
tle more reserved than usual.) 

LoL. {politely). It is a lovely morning, isn't it? 

Edith {at a loss for words). Yes, it is. 

El. We are fortunate to have such a fine day for the fiesta. 

Edith. I'm so glad to be here for this fiesta as I've never 
seen anything of the kind. You are going to dance? 

Cak. Oh, yes, we all dance in the plaza, you know. 

El. And each man chooses for partner the girl he likes 
best. 

Edith. How lovely ! I wish I were going to take part in 
the dance. 

El. {ivith emphasis). Don Francisco Calderon is a beauti- 
ful dancer. 

Edith {surprised at her tone). Really ? Then I shall have 
to ask him to teach me. 

(El. looks at Lol., as if to say, " I told you so.") 

Car. {to change the subject). Oh, Miss Merrick, has 
Dolores told you about the Esteban treasure ? 

Edith. No. Do you mean to say there is a hidden treas- 
ure and Lolita has never told me? 

Lol. It is only a fairy tale. I don't believe in it. 

Car. But tell it to the Americana, Lolita, do. 

El. Lolita would prefer to talk about the fiesta. 

Lol. {starting). Oh, I will tell it if you wish. 

Edith. I sure do wish, my dear; it might be just the thing 
for a plot. 

Car. Go on, Lolita. 

Enter Chi., d. i,., and listens. 
Lol. The story is that one of the Estebans, an ancestor of 



THE AMERICANA 



17 



mine, was very miserly nnd loved money just for itself. All 
that he could secure he buried in old boxes in odd places, 
hoping that no one would ever find it. After his death his sons 
searched everywhere for the money, but only some of it was 
found and there has always been a tradition that more of it is 
still buried here in the garden. 

Edith. How delightfully romantic ! And have you searched 
for it ? 

LoL. No, and I never shall. My father spent so much time 
looking for the treasure that he allowed his possessions to go to 
ruins, mortgaged his properties, and now we have nothing. 
The treasure has been a curse. 

Car. But if you found it you would be rich again. 

LoL. If 1 found it. Don't forget that important little word, 
Carmen dear. 

El. I agree with you, Lolita ; it is all nonsense. 

Edith. Well, 1 don't. And I am going to look for it, too. 
(^Rises and goes toward D. c.) I'm going right now and buy 
a spade to dig. Good-bye. (^Laughs and runs out.') 

Car. Ave Maria ! It does not take her long to do things ! 

El, What would one expect of an American? 

LoL. Miss Merrick is only joking. She does not mean it. 

Car. I think she is very nice, Lolita. (^Looks at clock.) 
Elvira, see what lime it is. We must be going. (J?tses.) 

El. Yes, for it will take me some time to dress. Good- 
bye, Lolita; shall we call for you? 

LoL. Please <lo. 

Car. And Don Paco? 

LoL. Don Paco can look for trie, if he wants me. Good- 
bye, dear. 

(T/icy a/I go out on balcony.) 

Chi. {coming forward). A treasure. Oh, ho, I am going 
to himt for it. Perhaps I can find it before the Americana. 

LoL. {returning from D. c. Chi. runs out d. l. ). That 
Chichi! What mischief is she planning now? {Comes f 01 - 
7vard and straightens chairs, fingers flo7iiers.) \ wonder it 
what they say is true? I have heard nothing from Francisco. 

Does he really think I understand, or {Loud noise of 

auto horn outside.) Caramba ! What is that ? {She rushes 
to balcony. Voices heard outside, then I.OI.. returns ushering 
in the Lesters.) Will you come in? Miss Merrick will soon 
return, I am sure. 



l8 THE AMERICANA 

Mrs. Lester (exami/iing roo/n //uoi/oh lorgfioii). So this 
is where Edith Merrick has buried herself? Is she mad ? 
Pauline. Did you ever see such a queer siiff phice? 

(^She 7van(lers around room, pointing out its oddities to 
Winifred.) 

Win. It is strange, but I suppose it is the custom. 

LoL. {bewildered at their rudeness). Will you not be 
seated ? 

Mrs. L. {sitting doivn'). Do you hve liere? 

LoL. It is my home. I will call my aunt that she may 
welcome you. 

Paul. Don't bother. It's Edith Merrick we want to see. 
Can't you go find her ? 

LoL. ingoing to D. L.). I will send the servant. {Calls.) 
Chichi ! 

Chi. {coming in suddenly and bumping into LoL., then star- 
ing at the strangers. She is very dirty from digging). Si, si, 
senorita, here I am. 

Paul. Oh, look ! 

Win. What a funny mite ! 

Mrs. L. And how dirty ! 

LoL. {leady to cry). Chiclii, you miserable girl, what have 
you been doing ? 

Chi. Oh, senorita, I am so sorry, I was working in the 
garden. 

LoL. Go and change your dress at once. {Turns to the 
Lester s.) I will go for Miss Merrick myself. 

(^Goes out D. L.) 

Paul. Did you ever see such airs ? She will send the 
servant. And such a servant. These Spanish women are too 
lazy to lift their hands. 

Win. Don't exaggerate, Pauline. I've seen plenty of them 
working. And that girl is rather pretty, and quite refined too, 
in a way. 

Mrs. L. Winifred, you are so romantic, you will be hnving 
her a princess in disguise next, it is beyond me what Edith 
can see in a place like this. And when you think of her home, 
and all her money — she is mad ! 

Paul. That's just the trouble — her money, I mean. She 



THE AMERICANA I9 

has so much of it that she does not know what to do with it. 
It's a sort of while elephant, like ours, you know. 

(^Points to bag she is carrying.^ 

Mrs. L. Another result of this awful country. [To Edith, 
tvho enters D. c.) Edith, my dear ! 

Edith. What a surprise, Mrs. Lester. Where did you come 

from? And Pauline and Winifred (^Greets them all 

zvannly.) I'm so amazed I don't know what to think. 

Mrs. L. And we don't know what to think of you, Edith. 
What do you find to attract you in such a place ? 

Edith. It's adorable — but how did you happen upon this 
far-away village ? 

Paul. There's nothing far-away to a motor car. We've 
been doing the country and knowing you were here, we just 
up and came. 

Win. We are really on our way to Las Vegas, where an old 
friend of mother's has a villa. She married a Spaniard, you 
know. 

Mrs. L. I suppose you will be doing that next, Edith. 

Paul, {malic-ions ly). But what of Dick Hilliard? 

Edith {ignoring Paul.). I shouldn't wonder. The men 
here are splendid. 

Win. But aren't the conventions restrictive? I mean you 
can't see much of a man, can you ? 

Edith. I can. Conventions never did stop me. 

Paul. Who is he ? 

Edith. Who is who? 

Paul. The Spanish lover you've got. Don't deny it. I 
knew there must be some attraction or you wouldn't have 
stayed a day. 

Mrs. L. Edith, is it possible that you can forget Dick so 
soon ? 

Enter LoL. at d. l. 

Edith {t-ef using to notice ^' Dick''). Don Francisco Cal- 
deron would make you forget any one. Girls, you ought to 
see him. He's splendid. I'm simply wild about him. 

(LoL. stands still at this speech.') 

Paul. I knew it. But surely no one so independent as you 
would marry a Spaniard. They bully their wives awfully. 



20 THE AMERICANA 

Edith. Tliat's nonsense, Pauline. Don Francisco is the 
most perfect gentleman you ever saw. 'I'here isn't a man at 
home to couipare with him. 

{Rather defiantly at tlie List.^ 

Mrs. L. My dear Edith, surely you are not serious. You 
should not flirt with a Spaniard, you know, they are terrible 
when jealous. 

Edith. I am not flirting. 

(LoL. starts, then goes out silently?) 

Mrs. L. Then I am to take Dick Milliard the news that 
you are engaged to this Don What's his name ? 

Edith {stiffly). It isn't necessary to take any news of me 
to Mr. Hilliard. Besides I am not engaged yet 

Paul. Not yet but soon. So that's it. Well, Edith, I 
wish you joy of your Spaniard. But a good old American will 
do for me. 

Mrs. L. Are you sure that you are happy, Edith? 

Edith. Happy ? I've never been so happy in my life. 
(Paul, drops her bag.) Why, what is in that? 

(Paul, picks up bag wJiich is lieavy.) 

Win. Careful, Paul, don't lose our fortune. {To Edith.) 
That is our family bank ; it wouldn't do to lose that. 

Edith. You m^an to say you carry money like that? 

Win. Mother was so afraid the money might be spurious 
or counterfeit, so she got her letter of credit cashed in gold, 
and such dingy old stuff you never saw. 

Paul. It's a plagued nuisance, too, for I have to cart it 
around most of the time. Win would never think of it. 

Edith. And there is a lot of it? 

Mrs. L. {looking cautiously around). About a thousand 
dollars, my dear. 

Edith. And you mean to carry it around like that? Why, 
there's nothing the matter with the bank-notes here. I've got 
some perfectly good ones myself, and don't have a bit of 
trouble using them. 

Mrs. L. If we had only known that. 

Win. We would not have had our romantic " Family 
Treasure " then. 

Edith {suddenly repeating). Family Treasure ? May I see 



THE AMERICANA II 

it? (Paul. Ppe7is has;; she examines it.) It does look old — 
why I could Wouldn't you really rather have bank- 
notes, Mrs. Lester ? 

Mrs. L. 1 certainly should, if they are all right. 

Edith. Well, I won't cheat you. Let me take this and 
give you notes in exchange. I'm not traveling and can keep 
it easily. 

Paul. I should say yes, come on with your bank-notes. 

(Paul, ami Edith go out k. 2 e.) 

(LoL. returns with tray, serves glasses of refresco and plates 
of cakes. ) 

Win. {tasting refresco). Um — isn't that good ? What is it ? 
Lol. The juice of the tamarinds, senorita. 

{Passes cakes.) 

Mrs. L. It tastes rather queer to me, I must say. 

(Lol. places remainder of things on table and goes out.') 

Paul, (coming in followed by Edith). Well, this is better. 
{Shozvs her bag which is noiv light.) We can sleep on this in 
some comfort. What's that stuff? 

Edith. That's tamarind refresco, and simply delicious. 

{They drink.) 

Paul, {making face and putting down glass). Can't say I 
like it. 

{The others get up ; she suddenly picks up glass and finishes 
it. Edith sees her and smiles.) 

Mrs. L. Well, my dear Edith, we can stay no longer, for 
we must reach our destination before dark tonight. We just 
stopped in to say hello to you. But we will send over for you 
and you can stay with us; it must be better than here. 

Edith. But I love it here. And Dona Ysabel and Dolores 
are the kindest of hostesses. I have no intention of leaving. 

Mrs. L. You are surely a strange girl, Edith Merrick ; I 
don't know what to make of you. 



11 THE AMERICANA 

Paul. Put it down to Don Something or Other, and you 
will be near home. Good-bye, Edith dear. Take care of 
yourself — and him. 

Win. Don't mind Pauline, Edith. 1 hope you will be very 
happy. Good-bye, dear. 

Mrs. L. Good-bye, dear child. Let us know if you 
want us. 

Edith (a trifle stiffly). You are very kind, but I am quite 
comfortable here. Good-bye. ( They leave and Edith waves 
good-bye from doorway. Sound of auto-horn. Edith returns 
to room.) Well, it does seem strange, when they are my own 
country people and friends, but — yes, 1 am glad they're gone. 
I wish they had not come at all. Winifred is not so bad, but 
Pauline, with her silly talk about Dick Hilliard. Dick Hilliard 
is nothing to me, nothing. \_Exit into r. 2 e. 

LoL. {coming in slowly after Edith leaves'). They are gone 
at last. {Takes glasses and plates and puis them on tray.) So 
it is true; she has said it herself. And J thought her my friend. 
Oh ! {Takes glass and breaks it, throwing pieces on floor.) 

JUANA {runtiing in at noise). Caramba ! What is the 
matter ? 

LoL. Juana, you were right. Paco loves her, and I am 
forgotten. 

Juana {trying to comfort her). For that bold Americana? 
Oh, no. Your Paco is only a fool, like most men. He has 
lost his head over this foreigner with the blue eyes. 

LoL. {breaking dowji). What will become of me ? {Sobs.) 

Juana. Don't you worry, little one. He will come back 
to you if you get rid of her. 

LoL. Get rid of her ? Juana, what do you mean ? 

Juana {with menace). There are ways. 

Loi.. {frightened). No, Juana, no. No harm can come to 
a guest of tlie Estebans. 

Juana. Last night you wished you were not an Esteban 

LoL. But it would be a sin ! 

Juana. A sin ? And is it not a sin for her to come be- 
tween true lovers? And you, do you mean to sit meekly at 
home and let her take him ? You wish to be like Dona Ysabel, 
perhaps ? 

LoL. Aunt Ysabel? What has she to do with it ? 

Juana. It was the same witii her. She was once young 
and beautiful and she had a suitor, but another 

LoL. {interrupting). An Americana ? 



THE AMERICANA 



23 



JuANA. No, but with the manners of one. A bold, bad 
woman. Your Aunt Ysabel let him go. Ah, if it had 
been 1 ! 

LoL. (^fascinated). What would you have done? 

JUANA {liramatically). Killed her ! 

I.OL. Juana ! But if she loves him ? 

JUANA. Loves him ? Do you think that cold American can 
feel love ? No. All she wants is to play with men. They are 
her toys. Love ? She does not know what it means ! 

LoL. And if he loves her? 

Juana. But he does not. It is just that slie is different, 
so free. A little innocent like you cannot understand. But in 
his heart Don Paco loves you, I am sure of it. 

LoL. But he has not asked me to dance with him at the 
fiesta. 

Juana. That is her doing, but when he sees you there 

LoL. 1 will not go. 

Juana. What, child? Have you forgotten the beautiful 
dress on which your aunt worked so long ? It is not like those 
ugly American clothes, ugh ! 

LoL. But all American clothes are not ugly. And Paco 
likes them. No, I will not go. 

Juana. You shall go. Listen to me. Do you want all the 
town to say you are moping at home because an American has 
taken your lover? They will laugh at you, Dolores Esteban ! 

LoL. Let them laugh. I don't care. 

Juana. And Don Francisco Calderon ? Do you wish him 
to think you are breaking your heart, sighing for him? 

LoL. {proudly). No. No. 

Juana. Then you will go. Think how beautiful you will 
be in that new dress. Who can compare with you? Not that 
Americana. And when Don Paco sees you, so gay, so pretty, 
laughing and dancing with the senoritas and caballeros, then — 
little one, do you not see? 

LoL. {in gay anticipatioti). Yes, Juana, yes. Then he will 
love me again, perhaps? 

Juana. Certainly he will. Who could help it? But that 
Americana, we must get her out of the way. 

Loi.. {proudly dramatic'). 1 do not fear her now. I know 
her and 1 shall tell her what 1 think of her. I shall tell her 
that Paco loves me and me only, and she cannot have him. 
Then she will go away {7vavin^^ her hand) and that will be the 
end of her, the wicked Americana ! 



24 THE AMERICANA 

JUANA. Good ! Little one, that is the spirit of an Esteban. 
Now, come, let me help you dress; you must not be late for (he 
fiesta. \_Exit, r. i e. 

LoL. {^soberly but proudly). My heart is breaking, but I 
must laugh and be gay, and I will. After all, it is something 
to be an Esteban. ( Walks out with head high.) 



CURTAIN 



ACT III 

SCENE. — The same. The afternoon of the same day. 

Edith {entering from u. 2 E. carrying old box and bag of 
gold pieces. She looks cautiously around., then places box on 
table). There, that is just the thing. I am hicky to have 
found it, for it might have been buried for centuries, to look at 
it. ( Opens bag and pours gold into box.) I've been wishing and 
wisliing I could do something for Lolita and Dona Ysabel, but 
you can't offer money to an Esteban. That treasure story was 
just my chance. {She fastens box and picks it up.) 1 sup- 
pose I shall have to dig it up myself, since Lolita refuses to 
search, but they will surely never suspect the truth. {Looks 
around and outdoors.) I shall go and bury it now, while no 
one's around. It's my only chance and I must take it. 

{Goes out D. L.) 

Chi. {running in v>. c). Oh, such a fiesta {clapping her 
haiiiis), what a lovely time they are having ! And our sefiorita 
and Don Paco — they are the best of all. To see them dance — 
ah ! 

{Tries to dance in front of fnirror, bowing and almost falling 
over.) 

Dona {entering R. i e.). Child, what are you trying to do? 

Chi. {embarrassed). Oh, Dona Ysabel — nothing. 

Dona. I gave you permission to go to the fiesta. Why are 
you not there? 

Chi. I just came from there. Oh, Dona, it was beautiful ! 
And the senorita 

Dona. Dolores? Was she happy, did she dance? 

Chi. Did she dance ? You should have seen her. But the 
Americana was not there, so I came home to get ahead of her. 

Dona. What are you saying? 

Chi. In finding the treasure. 

Dona. The treasure? 

Chi. This morning Senorita Dolores told the Americana of 
the lost treasure, and she, the Americana, said she was going 
to dig until she found it, but I — 1 want to get it first. 

25 



26 THE AMERICANA 

Dona. Foolish girl ! There is no treasure. And what 
would you do with it? 

Chi. I'd give it to the senorita for her dowry, of course. 

Dona (Jouched\ You are a good child, Chichi, for, all 
your silliness. There is no doubt a treasure would be a happy 
discovery, but alas! I know too well the futility of looking 
for it. Run along now, and enjoy yourself. (Chi. tries to 
make a courtesy, falls over, jumps up ajid goes out hopping. 
Dona smiles^ A funny creature, but faithful. Ah, if only 
our friends were as loyal as our servants. God grant uiy dear 
child may be happy. Perhaps I had better send this Americana 
from my home, although the money she pays is a great assist- 
ance. After all, she may mean no wrong. Who can judge 
another ? 

Edith {e7itering hastily, starts at sight of Dona, and is vis- 
ibly confused). Oh, Dona Ysabel, !■ — I thought you were 
lying down. 

Dona. I have had a comfortable siesta, Miss Merrick, but 
it is now growing late. But why are you not at the dance? 
Surely all young people should be enjoying it. 

Edith. 1 was in the garden and I — oli, I had a headache — 
just a slight one — so I decided not to go. 

Dona. Let me get some eau de cologne, ray dear, and rub 
your head for you. 

Edith {rather abruptly, for she is afraid to show her 
dirty hands). Please don't bother. I'll lie down and it will 
be all right. 

{She hurries out R. 2 E.) 

Dona {slightly offended). As you wish. How strange ! 
I really believe she was digging for the treasure. But surely so 
modern a young woman would not believe in the old tale, and 
she is supposed to possess great wealth. 1 cannot understand 
her conduct. Perhaps it is best that she should leave us. I 
will think seriously of it. \^Exit, r. i e. 

(LoL.'s laugh is heard from balcony ; she comes into door- 
tvay, facing out and just visible, speaking to those outside. ) 

LoL. Good-bye, Carmen and Elvira. And Don Felipe and 
Don Luis, goodbye. {Waves her hand.) Mercedes, Amalia 
{turning as if to come in, then looking back, smiling ) and Don 
Paco, good-bye. {Comes in doorway, laughing over her 
shoulder, runs to mirror, takes rose from hair, kisses it, goes 



THE AMERICANA 



27 



to door and throws it out of door, laughs again arid comes in.') 
Oh! What a perfectly lovely day ! {^Dances around room.') 

JUANA {entering D. L., taking off scarf and holding it iii 
hand). Then everything is all right, little one? 

LoL. {embracing her and whirling her around room). Pace 
loves me, Juana ! Paco loves me ! 

Dona {coming in r. i e.). Dolores, what is this? 

LoL, {embracing Dona). He has told me, Aunt Ysabel, 
and you must forgive him. To-morrow he will come in great 
state to ask you for my hand. You are not angry, dearest? 

Dona {brusJnng her eyes with Iter hand and kissing \^oh.). 
My dear child ! If you are happy, all is well. But to lose 
you ! 

LoL. I shall never leave you. We shall all live here to- 
gether, so joyfully. 

Juana {ivith sarcasm). And the Americana, too? 

LoL. {proudly). The Americana goes at once. She is 
nothing to Francisco; he has told me. Her words were lies. 

Dona. Lolita ! 1 thought you loved Miss Merrick ! 

LoL. I hate her! No. I despise her. Aunt Ysabel, you 
do not know what she has done, what she has said — to those 
rude friends of hers. I am done with her forever. She shall 
leave this house to-day. 

Dona. But, Lolita 

Chi. {calling from ivithout). Oh, lookee, lookee ! {She 
runs in D. L.) See what I have found ! {She carries 
box, stumbles and falls, spilling slioiver of old coins.) Let me 
alone, Juana, I must show the senoritas what is here ! 

Juana. Hus the creature gone crazy? 

LoL. {dropping on one knee to look at the coins). Chichi, 
Chichi! What is this? {She picks some up and shows to 
Dona.) Aunt Ysabel, oh, what can it be? 

Dona {trembling, taking coins and looking at them care- 
fully). Cliild ! It cannot — it — it is the Treasure of the 
Estebans ! 

LoL. {placing gold and box on table). The Treasure ? Our 
Treasure ? 

{She clasps the box with both arms.) 

Juana {trying to embrace Chi., who eludes her). Angel ! 
What have you done ? 

Chi. (getting aivay and laughing). Now the senorita will 
have a fine dowry ! 



28 THE AMERICANA 

LoL. {seriously). But, Chichi — you found it— it should be 
yours. 

Chi. Mine? Caramba, no ! What do I want with money ? 
It is the Esteban treasure, and for you only. Thank heaven 
the Americana did not get it ! 

LoL. Miss Merrick ? She wanted it ? 

Chi. She was digging away for it, but she didn't find it. 
Ho, ho ! 

Enter Edith, r. 2 e. 

Edith (coming forward and trying to look surprised). 
Lolita, what is this? 

[She points to box.) 

LOL. {stepping in front of table and bet7veen box <?«r/ Edith). 
It is mine — the Treasure of the Estebans ! 

Edith {a little gushingly). 1 am so glad ; why, that's fine. 
You 

LoL. You say that, you ? 

Dona {warningly). Lolita ! 

LoL. {motioning to Dona, Juana and Chi. to go). She 
shall hear what I have to say. 

\_Exeunt Dona, Juana and Chi. 

Edith {very much puzzled). Lolita, dear, is there some- 
thing wrong ? Have 1 ? 

LoL. (vehemently). You? You have deceived us, you have 
betrayed us. You came here pretending that you were rich, 
but you have attempted to steal the Esteban treasure 

Edith {amazed). To steal it? 

LoL. You say you care nothing for men, but you have tried 
to take my sweetheart, Francisco. 

Edith {completely overwhelmed). Senor Calderon is 
your 

LoL. He is. For months he has loved me. We were all 
but betrothed vvhen you — ah, but you did not succeed. To- 
day he is mine, all mine, now and forever ! 

{She is cotnpletely wrought up.) 

Edith {beginning to understand). But I didn't know — I 
never dreamed of such a thing. You never said — truly you 
misjudge me, Lolita. I think Don Francisco is splendid, but 
as for loving him, wanting him — why, I don't care that (snap- 
ping her fingers) for him ! 



THE AMERICANA 



29 



LoL. Do you expect me to believe that ? And you told 
your friends 

Edith {jinderstandui^ still more). Lolita ! Did you over- 
hear that speech? Is that why you Oh, my dear, I 

didn't mean a word of it. I only said that because 

LoL. All the village is talking of your conduct, saying that 
you are always with Francisco, walking, riding 

Edith. 1 guess that is true, but I never thought anything 
about it. Senor Calderon was so nice and chivalrous, and never 
tried to make love to me 

LoL. You did not want him to make love to you ? 

Edith. Of course not ! How could I want his love when 
I {She droops rather pathetically, forgetting to be strong- 
minded, and being Just girl.^ Lolita, dear, please don't be un- 
kind to me. I am so miserable anyway. 

LoL, Miserable? But why? 

(^She begins to softe?i.') 

Edith (^drazaing Lol. doran to a seat beside her'). Honey, 
I'm going to tell you all about it, so there won't be any misun- 
derstanding. Besides, I feel if 1 don't tell some one — my heart 
will break. 

{She drops her head on Lol.'s shoulder and wipes her eyes.) 

Loi.. {7eiho is ail kindness noiv and caresses her). Miss 
Merrick dear, tell me. 

Edith {sitting up and drying her eyes). It's all my own 
fault, of course, but you see I've always had my own way and 
Dick would not give in ; and I said he was stubborn and he 
said I 

Lol. {trying hard to follojv her). Dick? Who is Dick ? 

Edith. Why, Dick Hilliard, the dearest man in the world ! 

Lol. You love him, — this Mr. Hilliard ? But 

Edith. Of course I love him. I just couldn't help myself. 
But you see we quarreled, and I ran away, and I thought he 
would write, and he h^.'sn'i {^beginning again to break dozan), 
and I — now I suppose I never will see him again. 

{She cries softly.) 

Lol. Poor, dear Miss Merrick. And I have been so cruel 
to you in all your trouble. Will you forgive me? 

Edith. Forgive you? Dolores, if it hadn't been for you, 
I'd be desperate. 



3© THE AMERICANA 

LoL. What have I done to help you ? Nothing. 

Edith. Everything. Dear child, just to be with you is a 
lesson to me. To see how contented you are, how sensible 
you are — how womanly you are ! I feel as if 1 can never hope 
for happiness now, but 1 can try to be good. 

LoL. But I want you to be happy. 1 want all the world to 
share my joy. Isn't there anything I can do ? 

Edith. Not a thing. 

Chi. {coming in, carrying letters').- Here, I went to the 
post-office for you, Miss Merrick. {Gives Edith Idlers. 
Aside.) I hope it tells her to come home. 

LoL. (jvatching). Perhaps it bears good news. 

Edith {after one hard look at letter). Lolila ! It's from 
him I 

{She tears it open and reads it eagerly, both Chi. and Lol. 
watching attentively.) 

Lol. Chichi, you good girl, you go about making every 
one happy. 

Chi. So the Americana has a beau of her own, has she? 

Lol. Of course she has — an American. 

Chi. Well, perhaps even I can get a husband ! 

{Runs out D. L.) 

Edith {who has finished reading letter). Lolita, it is from 
Dick and he loves me. And he is coming — coming, as fast as 
the ship can bring him. {She hugs Lol.) 

Lol. {returning embrace). My dear Miss Merrick i 

Dona {entering k. i e., surprised). Lolita! 

Lol. {taking her hand and bringing her forward). Aunt 
Ysabel, come and congratulate Miss Merrick. Her fiance is 
coming ! 

Dona. My dear, is this true? (T^^? Edith.) 

Edith {taking her other hand). Yes, Dona Ysabel. Now 
you shall see a real American ! 

JUANA {enteri?ig d. l.). What is this, another Americana ? 

Edith. An Americano, Juana. Don't you lose your heart 
to him ! 

Juana. Heaven forbid ! 

Chi. {from doorway^. Just wait until you see him, Juana ! 

Juana {turning on her). Wicked one ! 

Chi. {clasping hands and looking skyward). Oh, no. I 
a^m an angel now ! 



THE AMERICANA 3I 

{All laugh, as Car. and El., folloiced by oilier girls in 
fiesta array, enter hurriedly.') 

Cak. Lolila, is it true — Iiave you found the Treasure? 
El. 1 said it was only one of Chiclii's jokes ! 
LoL. {shtnving them the box and coins). It is true. See 
for yourself. 

(^The girls gather around, examine it excitedly.) 

Car. Dear Lolita, I am so glad for your sake. 

El. (jpitefullv). Now 1 suppose you can get your Paco 
back ! 

Edith (quickly). He is hers now, always has been and al- 
ways will be ! 

El. (/// surprise). And you? 

LoL. (^putting her arm around 'Edith). An Americano is 
coming for her — just think of it, girls ! 

GiULS. An American man ? 

{They run to mirror and primp, laughing.) 

L01-. {laughing). It's no use — he only wants the Amer- 
icana ! 

(All gather around Edith and Loi-., music starts, and dance 
begins. Edith and Dona ivithdratv to one side, Juana 
and Chi. to another. If LoL. does not dance, she joins 
Edith. Juana and Chi. may push furniture out of 7vay. 
As the dance ends, the curtain begins to drop.) 



CURTAIN 



B. yj. Pinero^s Plays 

Price, 50 ee if^ eacb 



MID-CHANNEL r^'""? '" ^°'"" ^''*^- ^'^ ^^l^^- fi^e femaies. 
pTa,. two aX half ho'ur."'"''' ""'''^"' «— y- tl^-e interiors. 

THE NOTORIOUS MRS. EBBSMITH tir^^Tt 

Plays a^ful/lSfg. ''°''"""^' '"°''^'-"' ^^^^^^y- -n" .-tensors. 
THE PROFLIGATE T^^'" Four Acts Seven males, five 

THE SCHOOLMISTRESS s"e^.:;:;?^fe^,^Lt^^^^ost^L^^^^^^^^^^^ 

ern; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY S^rSS^& 

teinales. Costumes, modern; scenery, three interiors. Plays a 
full evening. -^ a^o a. 

SWEET LAVENDER comedy in Three Acts. Seven males, 
krifuui Muni L.i^LHai\ four females. Scene, a single interior! 
costumes, modern. Plays a full evening. ' 

THE THUNDERBOI T comedy in Four Acts. Ten males, 
lllL, IllUl^ULaOUL,! ninefemales. Scenery, three interi- 
ors; costumes, modern. Plays a full evening. 

THE TIMFS Coiiedy in Four A'cts. Six males, seven females. 
X Tf **"»-'-' Scene, a single interior ; costumes, modern. Plavs 
a full evening. ■' 

THE WFAKFR SFY comedy in Three Acts. Eight males, 
in£. n£./\A.DIV OE,A eight females. CostumesT modern 

scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE '^-^^,;^^%J^ 

Costumes, modern ; scene, a single interior. Plays a full evening. 

Sent prepaid on receipt of price by 

Walttv ||. pafeer & Compan|> 

NOc 5 Hamilton Place, Boston, Massachusetts 



:::^:»aC 



LIBRARY OF CONGRESS 

iiiiiiiiiitiyitiiiiiiiiiiL 

016 102 439 9 W , 



Ci)e 3^illtam 3^arren CDitton 
of ^laps 



AS Yftll I I¥F IT Comedy in Five Acts. Thirteen males, four 
A J lUU I4IIVI4 ii females. Costumes, picturesque ; scenery, va- 
ried. Plays a full evening. 

pi Mil I C Drama in Five Acts. Nine males, five females. Cos 



tumes, modern ; scenery, varied. Plays a full evening. 

Play in Five Acts. Thirteen males, three females. 
Scenery varied ; costumes, Greek. Plays a full evening. 



IWiPV STIIAPT Tragedy in Five Acts. Thirteen males, four fe- 
ITiAIvI JlLfllll rnales, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

THE MERCHANT OF VENICE ^.X^lh^rer^mi^^i: SX'! 

picturesque ; scenery varied. Plays a full evening. 

niflf pi IpiT Play in Five Acts. Fifteen males, two females. Scen- 
l\IvllCLflLiU ery elaborate ; costumes of the period. Plays a full 

evening. 

THF PIVAI S Comedy in Five Acts. Nine males, five females. 
1 lie ni T AL>iJ Scenery varied ; costumes of the period. Plays a 
full evening. 

CHK CTAAPC Tft rnNHTIPD Comedy in Five Acts. Fifteen 
anC JlUUlJ lU V.'UiiytEll males, four females. Scenery va- 
ried ; costumes of the period. Plays a full evening. 

TWELFTH NIGHT; OR, WHAT YOU WILL iX'^en mK 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

l^alter ^. ^iBafeer a Company 

No. 5 Hamilton Place, Boston, Massachusetts 

a. J. PARKHILL a CO., PRINTIAS. BOSTON, U.S.A. 



